Roxanne would rather read romance letters and dream about the perfect man than see him in real life; when real life doesn’t live up to her grand expectations, she rejects it and runs back into her fantasies about a man she barely knows, has never spoken to, and yet is convinced that she is in love with him after seeing him across the room. She is idealistic and smitten, but wants words to seduce her and turn her on, to make her pant with passion. In a true Ne-dom way, she is also inconsistent—she was in love with Christian until the instant she realized Cyrano wrote those letters, then she’s angry, and then she confesses that she has loved him all along, as she flits between ideas about herself with wild and happy abandon. She’s also firm in her sense of Fi – she knows who she is and what she wants from life, and she rebuffs people who attempt to make her change. While she’s pleasant to the marquis who is courting her, she also rebuffs him with wit (disguising her true intention, which is to keep Christian from dying in battle, by convincing him the best way to humiliate Cyrano would be by leaving his regiment behind; and then when he tries to ‘have her,’ telling him that she can only feel sexual passion for courageous men who have overcome all odds, so he must go to war first). She refuses to wear the dress he sent her because she sees it as vulgar and inappropriate, but makes up a pretty lie to cover that up to his face (“I had no shoes to match!”). She shows occasional sentiment about the past and her long-term interactions with Cyrano, but has no grounding that would allow her to sense the truth—that it’s him and not Christian who is writing her such beautiful words and telling her, a thousand ways over, what he feels by comparing her to galaxies and summer days.

Enneagram: 4w3 sx/so

Roxanne is all about over-idealizing her concept of the ideal man (one who can fill all her dreams, and isn’t boring and mundane and typical like all the men who try to flatter her with lame statements like “I love you”)… and in the process, she ignores Cyrano and devalues the love right in front of her. She’s an extreme romantic, entranced with the idea of love, but at the same time, not wanting to fully possess it—she doesn’t want to meet her lover, just to receive letters (a way to remain distant and full of yearning), and then must realize over time that her romantic infatuation with someone who may not even exist is a distraction from forming a real connection to a living, breathing person. The instant a man doesn’t fit this idealized image (when he says stupid things), she pushes him away in disdain, only to come back to him later. Much like Marianne from Sense & Sensibility, she has to experience a tragedy to realize the truth about her misguided affections—but unlike Marianne, she doesn’t get the chance to make up for lost time, since it’s too late. She even laments, as the man she loves dies, that she has lost her chance for true love. She is generally self-confident in asserting her demands upon other people (being forthright about what she wants and expects from others, in a 3ish assertive way).

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